September 24.
The filming of Jurassic Park continued at a slower pace than what was ideal for a production, but every detail was completed. The important thing was that they were at the final stretch of the shoot, being chased by two massive Tyrannosaurus Rexes in the jungle. This ti, the rain poured down on the entire cast like torrents from a relentless storm.
Billy felt a new kind of irritation as mosquitoes bit at his skin. He took a deep breath while everyone around him was slightly anxious at the sight of the fantasy coming to life—the dinosaurs.
- It’s the funniest thing when a dinosaur tries to lick you, - Vanessa Lee remarked.
- Well, that’s not for science to decide. That’s up to the production team. Maybe they want to add that extra touch of fear,- Julianne Moore comnted.
Much younger than he rembered, her cheeks were flushed, and her dark red hair, under the light, glead a striking crimson. She carried herself with serene grace.
- We survived till the end, - Julianne said, clapping hands with the other girls as they played a hand ga—a preferred way to keep the younger girl entertained. Julianne had a knack for keeping her focused enough to ensure she stayed engaged for the next scene.
They couldn’t change out of their wet clothes to maintain continuity, a crucial aspect in the imrsive nature of the film. They had to run through what remained of a small set from the previous movie. Apparently, both Steven Spielberg and Billy had envisioned a trilogy—like Star Wars—but in 1993, the idea had been completely rejected. The decision had deeply frustrated Spielberg, who scrapped the project and left the abandoned set on the nearby Hawaiian island, which had originally been built for the planned trilogy.
After the so-called debacle, which still brought in over a billion dollars at the box office—let alone the rchandising profits, which multiplied that figure tenfold—Universal was scrambling to course-correct. They wanted the sequel to be done with absolute diligence. But the old fox wouldn’t budge; Spielberg had only one demand—that they help him establish DreamWorks in collaboration.
Once studio head yer accepted the deal, Spielberg was moved by the gesture and set everything in motion for The Lost World: Jurassic Park. He assembled his teams and pushed the production forward as quickly as possible, even as n in Black had already started filming—a movie Billy was also involved in, splitting his investnt between DreamWorks and the project.
- How ridiculous is that? - the girl laughed. - I an, what a massive tongue! Do dinosaurs even have tongues, or is that just our imagination? Well, it doesn’t matter—I think I’ll get so rest. - She took a sip of water and grabbed a few biscuits.
Across the room, Billy took a deep breath while Monica flipped through one of his books. This ti, she was engrossed in Ga of Thrones, holding the Italian edition, her avid reader’s curiosity in full swing.
- Next week, we’ll be filming so scenes in Los Angeles. We just need to wrap things up here, then we can head to San Jose and relax. I want us to go to a barbecue and sleep all day, - Billy said to Monica. She was still absorbed in her book but looked up and nodded.
- I had to go to Italy. -
- Now, your ti is with . You’ll go later. I’ll co with you—I have business to handle at the company, and I need you by my side, - Billy said, kissing her lips softly. She smiled slightly in agreent.
- Now, let read my book, - Monica replied.
- I thought you wanted to know about your birthday present. But now I fear I was mistaken—what a sha. -
She tried to stop him, but in doing so, nearly toppled off the chair she was sitting in. Billy smirked and winked at her before heading back to set.
Scene 45, Take 2.
The scene begins with the four main characters gathering at a rocky outcrop—Dr. Ian Malcolm with his charming smirk (it wasn’t the first ti Billy acted alongside Jeff Goldblum), followed by Vanessa Lee Chester as Kelly Curtis Malcolm, and Dr. Sarah Harding. Dirt-covered and soaked, they brace against the rock. Behind them, skeletal remains loom in the background, and distant screams echo through the jungle.
Billy, playing Nick Van Owen, appears slightly nervous but maintains complete focus. His hands tremble, but his voice remains steady.
- Nick Van Owen: There’s the structure. They said the communications center is in those facilities. I’ll head there and try to get a signal out.
- Kelly: It’s broken.
The girl muttered while her father, wounded, shook his head.
- Nick Van Owen: I’ll see you there.
- Sarah Harding: Wait for us!
- Nick Van Owen: Every second counts.
- Ian Malcolm: Oh, co on.
- Sarah Harding: No, Ian—rest.
Nick dashes off toward a studio set—a phosphorescent-painted structure filled with vibrant colors. Ian takes a deep breath and, despite his exhaustion, follows suit. The caras track them, capturing the urgency of the mont. The set itself is a small enclosed space, no more than 300 ters across, distanced from any real jungle, with green screens in strategic spots.
- Nick Van Owen/Billy: Okay... what was that?!
He says, startled by a sudden noise. His flashlight flickers as he carefully steps forward, employing the instinctual fear response—hunched shoulders, light footing, moving cautiously.
A high-voltage warning sign appears on a nearby panel. He steps to the side and flips the fuse switches.
- Nick Van Owen: Understood—this is Operation InGen, calling base. I repeat—this is InGen’s forward team, calling base.
- Base: Go ahead, forward team.
- Nick Van Owen: We’ve suffered heavy casualties. The survivors are in imdiate danger. We need an extraction—our coordinates are nine degrees north, eighty-five degrees longitude. Do you copy?
- Cut! -
Billy sat down off to the side, waiting while the others continued their action sequences. He took a mont to catch his breath. The shoot had taken far longer than expected due to various technical models. Stunt doubles handled the more dangerous shots, while the actors only participated in specific close-ups.
The scenes were spectacular. Each take was ticulously planned, with the production team executing flawless work. The animatronic dinosaur heads, the way glass shattered, the masterful use of cara angles—it was all crafted to perfection.
Billy watched the finished takes and pondered about what truly made a show exceptional. Breaking Bad ca to mind for one simple reason: it aid to make every detail as cinematic as possible. If he wanted to establish Netflix, this was the way to do it—by ensuring impeccable execution. It wasn’t just about production; it was about performance. That level of control required relentless effort.
And yet, when it ca to television, he still believed HBO delivered better quality. But Netflix? Netflix had the advantage in sheer volu and long-term developnt.
A tricky balance, no doubt.
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